Representational painting demands that we take it on faith that a subject exists as depicted. Josephine Halvorson paints her subjects on-site and within real-time constraints such as available hours of daylight – or in the case of the series Night Window, which the artist painted during a residency at the French Academy in Rome and which shows the same window on multiple nights – available hours of darkness. Her subjects fill the canvas and convince with every brushstroke.

Peering into the darkness and imagining the world we knew in daylight still there is also an act of faith. The unyielding opacity of Halvorson’s darkened window, with its implied depth, heightens our impulse to catch sight of that world. Looking from painting to painting in the series for traces of difference, we see more discernible depth and detail in the window frame than the endless night beyond.

Halvorson’s subtly different night scenes give the lie to any idea that we register a painted subject solely through the evidence of what is clearly depicted. Just as we can imagine the flaking paintwork on the window frame implied by the artist’s brushwork, so too can we hear the sounds from the darkness outside.